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Gottfried Reiche's Instrument: a Problem of Classification

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Gottfried Reiche's Instrument: a Problem of Classification 174 HISTORIC BRASS SOCIETY JOURNAL GOTTFRIED REICHE'S INSTRUMENT: A PROBLEM OF CLASSIFICATION Reine Dahlqvist Editor's Note: The following article is an excerpt from Reine Dahlquist's doctoral dissertation.1 ew brass instruments have created as much controversy as the one in the shape of a posthorn in the portrait of Gottfried Reiche, Leipzig Stachpfeifer, and "J.S. Bach's F trumpeter" from 1723 to 1734 (see Figure 1). As the instrument is equipped with a trumpet mouthpiece and the tube appears to be mainly cylindrical, it has generally been regarded as a trumpet.2 There is, however, considerable disagreement among scholars as to the exact classification of this instrument, and correspondingly, much confusion regarding coiled brass instruments in general during the 17th and 18th centuries. Using the instrument in Reiche's famous portrait as a point of departure, I propose in this article to survey the evidence relating to coiled brass instruments, and to offer my own solution to the problem. I shall rely principally on four types of so urces: iconographical (i.e., paintings), organological (surviving instruments), theoretical (early printed sources and documents), and musical (surviving scores and parts). Figure 1 Elias Gottlob Haussmann, portrait of Gottfried Reiche, ca. 1727 CONFORZI 173 trumpet[er];" ibid. c. 31"owes one large serpent [...] on the day 2 August 1656 owes another large serpent;" ibid. c. 106v-7: "A large serpent to be given to Michel-Agnolo, trumpet (2 July 1654) [...] The di contro serpentone has been given to the Reverend Father Giovanni Pancani (28 August 1669)." 37. I-Fas, Mediceo, Guardaroba, file 664, c. 25: "On the date February 4 1660 [...] two brass trombones with their fittings. Returned on 18 January, 1661." 38. A true family monopoly, to the point that even Giuseppe and Pier Antonio are still provided for in 1704 by Cosimo III, cfr. I-Fas, Mediceo, Depositeria generale, files 1533 and 397; cod. 403, c. 71 and 125. 39. Here is a testimony of October 24, 25, and 26, 1683: "list of musicians and players of music made by Pietro Sanmartini [. .] 1st platform and 1st chorus [...] trumpet Pier Antonio L. 30." In this connection it should be mentioned that under the same circumstances "Francesco and Antonio Veracini violinists" earned only L. 21 [information taken from Riccardo Gandolfi, "La cappella musicale della cone di Tosca (1539-1859)," Rivista musicale italiana 16 (1909): 521]. 40. In virtually all biographical literature and monographs devoted to Fantini. 41. Hermann Eichborn, "Girolamo Fantini, ein Virtuos des siebzehnten Jahrhunderts and seine Trompeten-Schule," Monatshefiefiir Musik-Geschichte (1890; reprint, Nashville, 1976), p. 113, and the preface by Wilhelm Eh mann to Girolamo Fantini: Spiektitcke, (Kassel, 1966). 42. Eichborn, "Fantini," p. 113. 43. In the diaries found in I-Fas, Mediceo, Viaggi, files 6377, 6379, 6380, and 6381, every moment of these journeys is described in detail. 44. I-Fas, Mediceo, file 6415. 45. Giovanni Pirazzoli, I fiati gloriosi. Encom# dati dally Fama ally tromba [...] (Bologna, 1656): "Dall'imperato re Ferd i nand° second° fu facto cap itano di cavalleria un suo trombetta con emolumenti, e paghe straordinarie, per la sua virtu, e valore." A copy of this publication is preserved in the Civico museo bibliografico musicale in Bologna. [See also Meredith, "Fantini," 1: 22-24.] 46. In Tarr's commentary to his translation of Girolamo Fantini: Method for Learning to Play the Trumpet, p. 1. 47. I-Fas, Mediceo, Depositeria generale, file 6415. 48. I-Fas, Mediceo, Depositeria generale, file 1524b, c. 108 and 134. Igino Conforzi studied trumpet at the Liceo Musicale of Terni (Umbria), and early music at the Schola Cantorum Basiliensis (Basel Switzerland), where he completed a thesis that forms the basis ofthe present article. He combines his concert career with musicological research on trumpet repertoire and performance practice, in particular that relating to Italian music. Recently he recorded, with historical instruments, a CD entirely dedicated to compositions by Fantini (Quadrivium - SCA030). He currently teaches trumpet at the Milan conservatory. DAHLQVIST 175 We do not know when Reiche's instrument was made. According to Mattheson the portrait of Reiche was painted in 1727 by E. Haussmann and engraved by Chr. Rossbach in the same year.3 Arnold Schering suggested that it was commissioned by the Leipzig town council for the trumpeter's sixtieth birthday, but there is no supporting evidence in the accounts of the counci1.4 In 1985 the town council of Leipzig commissioned the instrument makers Friedbert and Frank Syhre and the musicologist Herbert Heyde to reconstruct Reiche's instrument. Heyde further consulted two art historians and a sculptor. After constructing models of the instrument depicted in the painting, Heyde calculated that the length of the tube without the crook was approximately 197 cm, and with shank and mouthpiece, approximately 210.5 cm, giving a pitch of E Cammerton or F tief (= "low") Cammerton. The bell had a diameter of about 12.6 cm and the mouthpiece, "which was unmistakably conical," approximately 9.1 mm. With the crook the pitch was D.5 It must be emphasized, however, that Haussmann's painting is not a scale drawing with precise measurements. It is not possible to construct an exact replica after the painting, as this can be done only after obtaining precise measurements from the original instrument, which has not been found. Heyde's assertion that the bore of the mouthpipe was (slightly) conical may be correct, but it cannot be confirmed. The classification of Reiche's instrument is not obvious, but if the main tubing were cylindrical, and even if the mouthpipe were conical and the bell rather wide, the cup-shaped mouthpiece should produce a sound like that of a trumpet. Schering noticed that the color of the tube in the painting is pale gray, while the bell is reddish. The instrument must therefore have been made of silver—or at the very least, silver-plated—with a gilded garland and the visible ferrule gilded also. This interpretation has been accepted by Heyde. As the garland is decorated with angels, Blandford supposed that the instrument was made in Nuremberg by J. W. Haas.6 Trumpet bells often had garlands with angels, while those on horns did not. Perhaps the best-known painting of a coiled brass instrument is Jan Breughel's Hearing (on the "five senses") painted between 1615 and 1618 (Figure 2). Among a number of different instruments in this painting there is an instrument with four and one-half coils and a funnel-shaped mouthpiece, but it is difficult to discern whether the tube is tapered? An exact replica of this pain ling was executed by Jan B reughel II. The same motif (Hearing) with a multi-coiled horn is used by Jan Breughel II and Jan van Kessel I, in yet another very similar painting attributed to the same painters, and in still another painting by Jan Breughel II (and Jan van Kessel I?). A coiled horn also appears in a painting with other musical instruments, Amor docet musicam, attributed to Jan van Kessel 1.8 Rather well known to organologists are the two etched plates by W. Hollar, probably made either before he arrived in England in 1636, or during his stay in Antwerp, 1644-52. The first plate shows two, the second, three horns, consisting respectively of four and one-half, five and one-half, six and one-half, seven and one-half, and eight and one-half coils. (One of these horns is shown in Figure 3.) The mouthpieces are funnel-shaped and the mouthpipes narrow.9 Less familiar are Jan van Kessel I's Diana resting after the hunt, which depicts two horns with four and one-half and five and one-half coils respectively; P. van Halen's Bath of Diana 176 HISTORIC BRASS SOCIETY JOURNAL Figure 2 Jan Breughel the Elder, detail of Hearing (1615-18) Figure 3 Helical horn. Engraving by Wenzel Hollar (1607-77) and Callisto, showing a horn with four and one-half coils; and H. van Balen's Nymphs Fishink with two horns with four and one-half coils.10 It is hardly possible for a painter to reproduce faithfully a tapered bore (tube), but the mouthpipes of these horns are in most cases narrow, so the instruments should have tapered bores. It is also interesting that horns of this type always appear either in still-life or mythological scenes, rather than depictions of hunting.11 An exception, according to Mary Rasmussen, is a painting by the German J. H. Roos.12 These horns are most common in Flemish art, or in works by artists who studied in Flanders. An example from France is theArazzo Gobelins, a tapestry made in 1669 in the workshop of J. Lefebre after Ch. LeBrun, and presented to the Prince of Tuscany.13 Much earlier, Michael Praetorius depicted an instrument of almost identical shape, which he called JagerTrommet (Jagertrompete = "hunter's trumpet;" see Figure 4).14 Like Reiche's instrument, the lagerTrommet has four and one-half coils, a crook, and a trumpet mouthpiece. The length of the tube without the crook has been estimated to be approximately 180 cm, and with the crook, 198 cm. The diameter of the bell has been estimated at about 11 cm (identical to the ordinarily folded trumpet on the same plate).15 In the text Praetorius writes: "Some make trumpets like a posthorn or like a coiled snake: DAHLQVIST 177 but the resonance of the former is not the same."16 Marin Mersenne depicts a tightly coiled instrument that he calls cor a plusieurs tours ("horn with many coils;" see Figure 5).
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